f\ 



The 
Duel for Love 

A Romantic Melodrama 
In Four Acts, with Music 
^^'LUGIAN MANTELL 



Akoru of "Theodore's African Trip" 
"The Princess Stella; or, the News- 
paper Reporter."— "Escaped from 
Prison" and "Her Country" Etc. 




TOGETHER WITH CAST OF CHARACTERS 
DESCRIPTIONS OF COSTUMES, SCENERY 
ENTRANCES, EXITS AND ALL POSI- 
TIONS OF THE PERFORMERS 



Seen es: — Naples, Italy. 



FOR PERMISSION TO PRESENT THIS PLAY APPLY TO 

Lucian Mantell and Gabriel J, Biondi 

205 EAST 116TH STREET 
NEW YORK CITY 



NOTICE:-ANY PERSON IMITATING OR INFRINGING ON THIS 
PLAY WILL BE PROSECUTED TO THE FULL EX- 
TENT OF THE LAW. 




Copyright, 1910 

By LUCIAN MANTELL, PLAYWRIGHT, 

and GABRIEL J. BIONDI, Banker. 



INTERNATIONAL COPYRIGHT 
SECURED 



The 
Duel for Love 

A Romantic Melodrama 
In Four Acts, with Music 
byUJClAN MANTELL 

Author of "Theodore's African Trip" 
"The Princess Stella; or, the News- 
paper Reporter."— "Escaped from 
Prison and Her Country" Etc., Etc. 




TOGETHER WITH CAST OF CHARACTERS 
DESCRIPTIONS OF COSTUMES, SCENERY 
ENTRANCES, EXISTS AND ALL POSI- 
TIONS OF THE PERFORMERS 



Scenes:— Rome and Naples 
FOR PERMISSION TO PRESENT THIS PLAY APPLY TO 

Lucian Mantell and Gabriel J. Biondi 

205 EAST I16TH STREET 
NEW YORK CITY 



NOTICE— ANY PERSON IMITATING OR INFRINGING ON THIS 
PLAY WILL BE PROSECUTED TO THE FULL EX- 
TENT OF THE LAW. 



-2.V 



//^'//^ ^^a/^^ a 



gClC 32220 



CAST OF CHARACTERS 



BEN WALDMAN A Jewish-Italian Major-General 

LOLA WALDMAN The General's Wife 

EVA WALDMAN Their Daughter 

LINA WALDMAN Their Daughter, "who is buried alive" 

CARLO PERROTTI Lola's Brother, an Italian Major 

HARRY LANE Captain in the American Navy, 

in love with Lina 

LEO BRUNO An Italian Count who kidnaps Lina 

JAMES WILSON An English Lieutenant in love with Lina 

CLARA SANDORE ' Lina's Maid 

GILDA SPINELLA The Gvpsy fortune-teller 

ANNA LONGO A bogus Countess 

LINO CIRBONO. . . .The Gypsy Chief who aids Leo to 

kidnap Lina 
SALVATORE DEMARCO. . . .Falsely accused of killing 

Marta and Matteo, her sweetheart 

DORA DEMARCO Who saves her father, Salvatore, 

from execution 

RICO BOSCO General Waldman's Valet 

PIETRO MANDO. . . . .The Doctor who pronounces Lina dead 
LUGO ZOTTELLO. . . .Who aids Salvatore to steal Lina's 

jewelry from the tomb 

MICHELO CARBONO The Prison Jailer 

RAFFAELO SPARINO Captain of the soldiers at 

the place of execution 

FABIO AND MARCO Gvpsy Blacksmiths 

LUIGI BARONELLI '. .The Sheriff 

LIONORA MURO The Fairv Dancer 

MATTEO BIANCO Who killed his sweetheart, Marta 

MARTA MOLIERO Killed bv her lover, Matteo 

GIANCOMO CASTAGNO Captain of the Police 

VITO MARATEO The Policeman who arrests Salvatore 

ANTONIO CAFARO . . . .The Policeman who aids Vito 

to arrest Salvatore 

FILLIPPO LIPPANO Who attempts to kidnap Lina 

STEFANO GRANITO Who aids Fillippo to kidnap Lina 

FOUR KIDNAPPERS. . . .Who attempt to kidnap Lina 

on her wedding night 
Soldiers, wedding guests, guards, attendants, etc., etc. 

Notice. — TJic original cast of characters in "The Duel for 
Love" numbers thirty. By donblincr parts, it can be produced by 
sixteen, eleven male and five female characters. 

Between the acts, music would add to the merit of the play if 
it were entirely Italian in character. 

3 



COSTUMES. 

HARRY LANE, age 25, handsome, light complexion, small 
blonde mustache. Scene i, dressed as Captain of American 
Navy. Scene 2, same. Scene 3, black mourning suit. Scene 
5, traveling suit. Scene 6, wedding suit. 

LINA WALDMAN, age 20, handsome, light complexion, blonde 
hair. Scene i, neat traveling suit. Scene 2, same. Scene 3, 
shroud in tomb. Scene 5, evening gown. Scene 6, rich wed- 
ding dress, 

BEN WALDMAN, age 60, good looking, rather stout and tall, 
gray mustache and goatee, gray curly hair, dressed as Major- 
General of Artillery in Scene 6, handsome uniform of Gen- 
eral. 

LOLA WALDMAN, age 50, fine looking. Scene i, neat house 
gown. Scene 2, summer traveling suit. Scene 5, evening 
gown. Scene 6, fancy dress. 

EVA WALDMAN, age 22, fair looking. Scene i, neat house 
gown. Scene 2, traveling gray suit. Scene 5, house gown. 
Scene 6, fancy dress. 

CARLO PERROTTI, age 50, gray hair, fine looking, dresses in 
uniform of Major of Artillery. Scenes 5 and 6, elaborate 
uniform of Major. 

LEONORA MURO, age appears to be 12 years. In Scene i 
dressed as Gypsy girl. Scene 6, as fancy dancer. 

ORLANDO FRASCO, age 30, handsome, dark mustache, 
dressed as Captain of Grenadiers, fine uniform in Scene 6. 

CLARA SANDORA, age 20, dressed as servant in all scenes. 

LEO BRUNO, age 35, distinguished looking, dark hair and 
mustache. Scene i, traveling suit, then disguised as Gypsy. 
Scene 2, Scene 5, rich traveling suit. Scene 6, photographer. 

JAMES WILSON, age 25, good looking, dressed as English 
Lieutenant of Infantry, in Scene i only. 

GIANCOMO CASTAGNO, age 40, fair looking, dressed in 
uniform of Captain of Police. 

GILD A SPINELLA, age 24, dark complexion. Scene i, dressed 
as a bogus Countess, then disguised as Gypsy fortune-teller. 
Scene 2, same. 

LINO CIRBONA, age 40. Scene i, dressed as a Gypsy chief. 
Scene 2, same. 

SALVATORE DEMARCO, age 45, light. Scene 3, dressed as 
a tramp. Scene 4, dressed as prisoner. Scene 6, fine suit. 

RICO BASCO, age 22, dark complexion, in attire of General 
Valet. 



ANTONIO CAFARO, age 25, dressed as a policeman. 

VITO MAFFEO, age 23, dressed as policeman; only appears in 
Scene 5. 

FILIPPO LIPPANO, age 45, dark complexion, very fine look- 
ing man; dressed as a brigand in Scene 5. 

MATTEO BIANCO, age 28, dark complexion, fair looking, 
dressed neatly in Scene 3 only. 

MARTIO MAHILERO, age 23, pretty looking, dressed in 
traveling suit in Scene 3 only. 

STEFFANO GRANITO, age 40. Scene 5, dressed in same man- 
ner as Fillipo. 

LUIGI BARONILLI, age 35, in prison, attired as Sheriff. 

PIETRO MANDO, age 45, dressed as doctor in Scene 3. 

LUCO ZOTTELLI, age 36, very rough looking, dressed as a 
tramp in Scene 5 only. 

Notice. — In Scene 6, the wedding party, all the men 
should be dressed in fancy military uniforms. 



SCENERY. 

ACT I. 

SCENE I represents Gen. Waldman's country flower garden. 

ACT II. 
SCENE 2 represents mountains with Gypsies' camp. 

ACT III. ' 
SCENE 3 represents a cemetery in Naples; shows a beautiful 

marble tomb erected by Gen. Waldman. 
SCENE 4 represents a prison cell. 

SCENE 5 represents Gen. Waldman's castle, a beautiful mar- 
ble structure. The castle is surrounded by garden 
trees. 

ACT IV. 
SCENE 6 represents Gen. Waldman's mansion. 



EXPLANATION OF ABREVIATIONS. 
R means right, I E first entrance, R 2 E right second en- 
trance, R 3 E right 3rd entrance, RUE right upper entrance, 
D R C door of right center, L C left of center, L i E left first 
entrance, L 3 E third left entrance, L U E left upper entrance. 
R C S right center of stage, R C F S right center of front of 
stage. All of which indicates position of actors and actresses 
and scenery on the stage. 



ACT I. 
Scene i : Represents Gen. Waldman's summer country gar- 
den; upper C shows front view of the General's palace: 
shozi's a beautiful marble structure, a part of the palace hid- 



den among fruit trees, a door on C. Round the palace blooms 
a beautiful floiver garden, arranged in Italian style; on left 
side shows a hill, grass and lozv bushes, with high and small 
trees, a fezu rustic seats round; upon the hill a shep- 
herdess sitting on the rock with a small old style harp; she 
appears to sing and play. Sheep around her on 
right upper corner. Scene shozvs valley, zvater running dozvn 
through high and lozv trees mi.ved zvith olive trees on upper 
right side of the marble palace shozvs beautifid Roman foun- 
tain, surrounded by different kinds of flozvers. A statue of 
an angel in the centre of the fountain, beneath the statue, 
zvith four faucets, shozvs running water, on Third E. Shozvs 
a roadtvay, zvhich goes over the valley by curve. Light sun- 
set. A moment before the curtaiti rises the orchestra plays 
brilliant piece of music, and as the curtain rises is heard the 
shepherd singing behind the scene. 
(Curtain rises.) 
Enter Lina and Harry, both listen to the song. 



SHEP. 



2nd Voice. 



THE SHEPHERD'S DREAM. 

I dreamt last niglit, sweetheart of you, 

And you looked so fair and sweet ! 
Your open arms and winsome charms, 

Made happiness complete. 
You gazed so sweetly in my eyes. 

No dream could sweeter be. 
I woke to learn, with heart a-yearn 

That you're all the world to me. 
Chorus. 
You're all the world to me, sweetheart. 

What else but you is here? 
The sweetest flower in all earth's bower, 

To me do you appear. 
I've travelled all the world around, 

Yet no one can I see. 
Who has the charms of your dear arms — 

You're all the world to me. 

Dear love, from morning till the night, 

I think of none but you. 
You always are my heart's delight. 

Because your love is true. 
Ah, sweetheart, will you name the day 

When happy man I'll be? 
Our hearts combine, just yours and mine, 

For you're all the world to me. 
6 



Chorus. 
You're all the world to me, sweetheart, etc. 

HARRY — It is a song of love, Lina. 

LINA — It is sweet, isn't it, Harry? 

HARRY — But not as sweet as love itself. It is but the mere 

echo of it. 
LINA — But echoes, echoes are so interesting. 
HARRY — Yes, and woman — woman, is so sweet (Kisses her.) 
LINA— Ah, flatterer. 
HARRY — ^Nay, my dear, without the sweet charm of woman 

this world would be a barren wilderness. It is love, woman, 

wives, sweethearts, that sweeten everything. 
LINA — Father says that all the vows of youth are lies. 
HARRY — But ah, such sweet lies ! And we who tell them believe 

them as fondly as those who listen to them. 
LINA (fondly) — Harry! (They walk to the back of the stage 

and look up the hill.) 
Enter Shepherd, at back, looks towards the mountains and sings. 

As smiles the mountains on the plain. 

So, dear, you smile on me; 
Yet in your eyes, love, I will rise 

As high as mountains be. 
My star of hope, of hope my star, 

The best love that could be ; 
Though far or near, remember, dear, 

You're all the world to me. 

LINA — Again the song of love. 
HARRY — The only song worth singing, 

Chorus. 
You're all the world to me, sweetheart, etc. 

Oh, heaven's choicest gift to man, 

Is woman, sweet and fair, 
Her love it is that makes all bright, 

And softens every care. 
My life has been like one sweet dream, 

Since I first looked on thee, 
My soul, my heart, these words repeat. 

You're all the world to me. 

(Harry puts his arms around Lina.) 

(The shepherd meets his siveetheart, ivho comes down the hill. 
They kiss and go off. 

LINA — One love, one lover. That's the only way it should be, 
Harry. 

7 



HARRY — But, oh, my fair Lina, if you have but one love, there's 
more than one loves you. 

LINA — ^But that I cannot help. They love me, but I do not 
love them. 

HARRY — Of course not. It would be a peculiar man that would 
not be smitten by your beauty. 

LINA — Flattering again? 

HARRY — But withal, Lina, I would tolerate no rival. The 
young English Lieutenant we met at the Royal ball — I heard 
that he is to call to-day to see you. He aspires to become 
my rival. 

LINA — Harry, no man can break the chain of my love for you. 
I told him I didn't care to have him call. Anyhow, he goes 
to England in a few days. Yet he is nice young man. I 
cannot help it if he admires me. Women love admiration. 

HARRY — Of course, that's why I say he will become my rival 
for your affections. 

LINA — He is so courteous, so willing to do any favor. 

HARRY — Certainly (clasping the handle of his szvord) ! In 
America we do not stand for rivals. We either have the girl 
all to ourselves, or wallop the rival. I'll chastise this one. 

LINA— Oh, Harry! 

HARRY — It will only be a bit of fun for me. 

{Enter Lieut. James Wilson.) 

JAMES — Oh, good morning. Miss Waldman. 

LINA — Good morning. (James shakes her hand. Harry shakes 

hand at Lieutenant.) 
HARRY — Shake hands? I'll shake mine in his face. (Does it.) 

I am from America. There, when one man seeks a favor 

from a woman who belongs to another, we knock his block 

off. Do you understand? 
LINA— Oh, I'll go inside and call help. (Runs off.) 
JAMES — 'Where they are all blockheads it must be easy to 

knock their blocks off. 
HARRY— What do you mean ? 
JAMES — I mean that you will place no limit upon my actions. 

HARRY — And I say I shall. Cast aside your sword, and we 
will fight like they do in America. 

JAMES — I shall get square and win too. 

HARRY — Then get busy. (Hard tight ensues. Harry knocks 
James dotvn; he soon gets iip again.) 

JAMES— I quit; I quit. - 



HARRY— Then leave this place at once and never return again. 

TAMES— You won the fight, and you can take the girl too 

J (James put up his sivord, etc.) 

HARRY— But now let me shake your hand before you go. Re- 
member me. {Both shake.) You're game, anyhow. 
JAMES— But you are gamer. 
HARRY— Perhaps. 
JAMES— Good-bye {Exit L). 
HARRY— Good-bye. 

{Enter Lina from R.) 

UNA— Oh, Harry, Harry. 

HARRY {Lina and Harry both stand on C, facing the audience, 
he puts his arm round Lina.)— My first duel for love. 
{Enter Leo unobserved. He listens.) 
LINA— You are so brave, Harry. 

HARRY— That is not bravery, Lina. It is mere resentment. 
Whatever opposes me must disappear. I will not be beaten 
no matter what strife I have to plunge mto, and I stand 
ready for the direst strife that man can hand to man. You 
say I have won you, Lina, but the victory is not complete, i 
feel that I have other struggles to go through. 
LINA— But you will go through them. 

HARRY— Yes if I had to beat the brains out of Satan and 
wade through his dominion of fire, I will overcome every 
obstacle that is placed in my way. 
LEO {aside)— Be not too sure! 
LINA— You frighten me, Harry. 

H A.RRY^Then no more of this talk, dear. I will be ofif to Pans 
and the jewels I will bring back to you will dazzle your 
family Bv the way, vour folks seems worried about my 
pedigree. 'Dear, Lina,' write to the Navy Department at 
Washington for 'it. You will get the truth there. 
LINA— Dear, Harry, I have cabled to the Secretary of the Navy 

and am momentarily awaiting a reply. 
LEO {aside)— Ah, if I can only intercept that! 
HARRY— My character will bear the closest scrutiny. 
LINA— I believe it, but I want to convince my people of the 

truth. 
LINA— I hope your journey will be pleasant, Harry. 
HARRY— Thinking of you all the time, it will be delightfully 

lonely. 
LINA— I hate to see you go, I feel as though something il! will 
happen. 

9 



HARRY — Fear nothing, sweetheart; no ill will come. Paris is 
the place to buy fine jewels, and I am going to get you the 
loveliest in Europe. 

LINA — But you don't need to; you cannot win me more with 
gifts than you have won me now. I only want you, Harry ; 
be the jewel for me. 

HARRY — I'll shine for you Lina, but I want you to excel every 
lady in the land. I wish you to be what we Americans call 
"swell." I want diamonds to glitter aU over you, just as 
you glitter over all women. 

LINA — Oh, Harry, I am satisfied to be as I am. I want no 
diamonds brighter than your smiling eyes. 

HARRY — I want my wedding gifts to you to be the best that 
can be procured. Ah, Lina, I feel a dread at leaving you. 
That Count friend, I am afraid, is what we call "a bad egg." 
If so, I'll crack his shell into a thousand pieces. 

LINA — Oh, how he wearies me. He is so impetuous, so nause- 
ating. I tell him I despise him, yet he hopes on. Fool ! 

HARRY — I will be going, dear. I have scarcely time to catch 
the train. I will kiss you good-bye, my love. Ah, dear Lina, 
how anxious I will be to get back to you. (Kisses her.) 

LINA — Good-bye, Harry. I will meet you at the depot when 
you return. 

HARRY— Walk to the gate with me? 

LINA — Why, yes, and don't forget to send me post-cards. Oh, 
how I do love post-cards ! Get off the train at every station 
and send me one. 

HARRY — Mark me, you will get them. (Exit.) 

HARRY--Come, till I bid the folks goodbye. (Exit.) 

LEO — My letter — mailed from Washington by my messenger — 
will give his pedigree, and it will damn him. Lina's father 
should have it by now. Oh, to love a woman who spurns 
me is my perplexing fate, but whether she wills it or not, I 
will yet hold her in my arms and kiss her. I will win her 
by fair means or foul. I'll try the fair means at first, but 
if I fail my Gypsies will do the rest. (Looking at his watch.) 
It is time the Gypsy chief, Lino, should meet me, and come 
to an understanding as to how we should act, and here he 
comes. 

(Enter Lino and Gilda, zvho carries water bucket, and meets 
Count on C, and shakes hands zmth him.) 

LEO — Oh, how do you do, chief? 
LINO — I am glad to see you, Count. 
LEO — Why do you carry a bucket? 



LINO-We came to meet yon, and carried the bucket so that the 
people would not have any suspicion of wrong. 

LEO— Ah, that's the girl ! t i i i .;.,o- 

LINO-Yes, as I told you the last time we met, I would brmg 

her with me. rr i o t 

T EO— Now Lino, I hope you understand me. If you do as i 
"^^"lish I ^ill give you 10,000 lires. I will g-^^ j'^^^^t 
I leave vou to show that I am m earnest. The girl can near 
from me what is expected of her, and if she accomplishes 
it, an extra reward will be hers. 
LINO— She will succeed. Gilda, come here. 

{Gilda, with tambourine in hand, goes to the chief.) 
GILDA— What is your wish. Chief ? 
LEO-Ah, a pretty girl; if she is as smart as she is good-looking 

she will surely succeed. 
LINO— I have no doubt. Gilda, this gentleman and I have a 
plan which you will have to execute. You have to be cimmng 
to carry it out. There is no danger and there is sufficient 
money in it to enable us to leave this country and rise out ot 
our misery. (She stands between Leo and Lino.) 
GILDA— I am proud that you have selected me for it shows 
that you deem me capable of aiding our tribe. Let the gentle- 
man tell me what I have to do, and I will act acordingly. 
(Gilda goes towards the Count smiling.) 
LEO— Now, my dear, pay close attention. As I told the chief, 
this is General Waldman's country garden and all his lamily 
are here for the rest of the summer. I am deeply in love 
with the General's daughter, Lina, but all my endeavors are 
in vain She is to marry a rich young American Naval 
Captain, who is now preparing to go to Paris to purchase 
jewels as a wedding gift for her. This maddens me, and 
I want the engagement broken off at any hazard and at once. 
Do you understand? 
GILDA— Perfectly, sir. How am I to proceed? 
LEO— I want you to use your powers to induce the General's 
daughter to love me, so I have planned to have you make two 
calls on her, each time assuming a different character. Have 
you sufficient clothing to assume a disguise? 
GILDA— I have a trunk full given to me by Countess Amelia. 
LEO— To begin, you are to visit her as Countess Bruno, my 
aunt If vou should fail in that, you are to appear in your 
real character as a Gypsy fortune teller, and tell her that a 
great deal of trouble will come to her if she does not leave 
her stranger sweetheart. Tell her if she wishes to save her 
life to marry a nobleman from her native country, who even 



now loves and worships her. Will your wardrobe answer 
the purpose? 

GILD A — Completely. But suppose I should fail. You know 
a woman's heart is never won by tricks or strategies. 

LEO — In that case, the girl will be kidnapped by your tribe and 
brought to the forest, where I will be disguised as one of 
your kind. I will pay the ransom for her liberty and make 
it appear as if her father sent it. Then I shall take her to 
my castle, where she will become my dear wife, whether she 
wills it or not. The chief has full instructions. He will ex- 
plain how to do well your part. Here is the reward. {Leo 
gives Gilda money, which she hands to the chief.) 

GILDA — Thank you, sir. 

LEO — Remember, young lady, I will give you 5,000 lires for 
yourself if you succeed. 

GILDA— Oh, it will be grand. (Aside) It is strange to me 
where people get so much money. 

LEO — Well, chief, everything is arranged, and I will be ofif. I 
believe we understand each other; if the General's daughter 
won't consent to break her engagement and love me, then 
right here we will kidnap her this very evening. 

LINO — Exactly sir; goodrbye. 

LEO — Good-bye, little girl. 

GILDA (bows) — Good-bye. (Exit Leo.) 

LINO — Gilda now you can make us rich. Go at once and dress 
to impersonate the Countess. I'll follow and explain. 

GILDA — I am all eagerness. Now I shall never again have to 
wear someone's cast off clothes. (Exit.) 

LINO — It was lucky to have met this gentleman. He seems to 
be immensely wealthy, and money is what we want. He 
doesn't know we are brigands disguised as Gypsies. We'll 
get the girl and we'll get his money too. {Exit Lino.) 

{Enter Clara.) 
CLARA — A message, Lina. I thought she was here. 

{Enter Count Leo from L of stage.) 
LEO — Ah, good afternoon, Clara. Is Miss Lina in ? 
CLARA — Not when you call, Count. That is, she's in, but she'll 

keep you out. 
LEO — Her mother invited me to-day ; she favors my suit, 
CLARA — Lina would like to singe it with a flat iron. 
LEO — You are saucy, Clara. 

12 



CLARA — I will tell you that I would not have a man running 

after uic unless I wanted him to run. Lina wants you to run, 

but the other way. 
LEO — Lina will yet love me. 
CLARA — Yes, when she is blind and there isn't another man 

in the world, or when the devil drinks holy water for his 

stomach ache. 

LEO — You insult me. 

CLARA — Can you be insulted? I thought you too thick skinned. 

LEO — Harm comes to those who balk me. 

CLARA — A coward with money can hire thugs when his bravery 

fails. 
LEO — Ah, I could choke you. 

CLARA — Of course you could. That is the kind of man you are. 
LEO — I came here as a friend. 
CLARA— But we look on you as an enemy. 
LEO — Will you announce me to the General? 
CLARA — I will, but it will not be a welcome announcement. 

Wait here. 

(Exit Clara.) 

LEO — Isn't this a barricade? Fighting women is worse than 
fighting an army. Women are such balky things when they 
want to balk. Ah, but I'll win the one I have set my 
heart upon. I swear that Lina Waldman will never marry 
Capt. Lane. It is an old saying that "Love will find a way." 
and if I don't succeed in one way, I'll find another. I don't 
care what is the way, so long as I win. 

(Enter Clara.) 

CLARA — The General is not at home, but will return in an hour 
or so. You may return later. Miss Lina is now with the 
hairdresser. You will excuse her? 
LEO — Express my kindest wishes. Good-bye. (Exit Leo.) 
CLARA — Good-bye, your Excellency. (Aside) You nuisance. 
But all bad luck won't go with you. 

(Enter Rico.) 

RICO — Is that the Count you are chasing? 

CLARA — Yes, but he'll come back. He doesn't know when he 

is not wanted. There are lots of men like him. (Walks by 

and gently slaps him on the chin.) 

RICO — Then I suppose it is time for me to go, too. 
CLARA — Maybe, Rico ; maybe. There are even some men who 
do not know when they are wanted. 



RICO — What do you mean? 

CLARA — Oh, you stupid, do you want me to tell you? 

(Snuggles up to him. He puts his anus about her and kisses 

her.) 
RICO — I guess that's what you mean, you teasing, pleasing, 

squeezing dear. 
CLARA — Ah, you are crushing the breath out of me, oh! 

(Enter Lina.) 
(Rico, confused, runs off, zvhile Clara hides her excitement.) 

LINA — So the Count is gone ! /';;/ glad. He wearies me to death. 
Last night at the lawn party of the Duchess Miletto, I would 
have enjoyed the afifair if I could have gotten rid of him. 
But he pestered me with his attentions until I had to leave. 
He knows I am engaged to marry Captain Harry Lane, and 
I don't care a snap about being his Countess. Women often 
sell better than they buy when they give everything for a 
title. Give up Captain Lane for him? (Shaking head.) 
Never. It would be easier to give up life itself. (Takes seat 
on right.) 

(Enter Lola.) 

LOLA — Well, daughter, how do you feel after the lawn party 
last night? 

LINA — Like a bird with broken wings. 

LOLA — I saw Count Leo Bruno a great deal in your company. 
He is a fine looking man. I saw him from the window a little 
while ago. Ah, he looked so handsome, handsomer than 
ever. 

LINA — I have no interest in his looks, or anything that concerns 
him. I despise him. He is worse than the snake that glides 
from me, but hisses defiance as he goes. I love Harry, 
mother, you know it. 

LOLA — At present, perhaps, but love can change. 

LINA — Not with me, mother. 

LOLA — Do not be too sure. Count Bruno has assured me of 
his love for you and wishes to make you his wife. I have 
his proposal. He is an Italian of great wealth and stands 
high in society. If you marry him, royalty will be counted 
among your connections. We wrote to his superior officer, 
the Secretary of the Navy, and the reply which came to-day 
would startle you. 

LINA — Then it is a lie and a forgery. 

LOLA — Daughter, you must listen to reason. This letter is post- 
marked "Washington" and is upon official paper. 

LINA — I will not believe it. 

14 



LOLA — It says that Harry Lane is a fraud and not what he rep- 
resents himself to be, a Captain in the American Navy. He 
has been a porter in a small hotel, has been washing the floor 
and cuspidors, and shining shoes and selling newspapers. So 
you don't want to disgrace yourself and the dignity of your 
family by marrying such a low person as Harry Lane? 

LINA — If Harry Lane is what you tell me he is, I am willing to 
marry him, and put up with all that comes to me. But I 
know better; he is a gentleman and he is the son of a great 
editor of the greatest American newspaper, and he is a 
noble Captain in the United States Navy and he has won 
honors in different parts of the world, I am proud to be- 
come his wife. 

LOLA — Yes, he is a bogus Captain ; what he showed to you. all 
those documents, are falsely written by bogus notaries. Give 
up the common American tramp and marry Count Bruno. 
This would please me very much. 

LINA — What's the matter with pleasing myself. 

LOLA — You shall marry the man I want — not the one you want. 

LINA — Mother, you gave my body to me, but you cannot sell 
it. I will dispose of it as my heart dictates. No one will 
choose a husband for me, but myself. (Lina i^cts up in an- 
ger and ivalks to L; she shows nervovsncss.) 

LOLA — I am your mother, and I hope that vou will try to please 
me. I see you are excited, so I will leave. We can discuss 
this later. 

{Exit Lola.) 

LINA (gets up in despair and walks to C.) — Please her! 
How about myself? Does mv mother want to break my 
heart? Curse this greed for titles! (Lina takes a handker- 
chief and dries her eyes.) 

(Enter Clara.) 

CLARA — Weeping, Miss I>ina? Because your mother opposed 
your marriage to Captain Lane? 

LINA — Yes, Clara, they want to break my heart, but I will 
marry the man I love, not the man I hate. 

CLARA — Your mother married the man she loved and you 
should do the same, too. That's what I would do. 

LINA — -How happy a girl is until marriage rings its gong. (Bell 
riiicrs.) You are wanted, Clara. (Exit Clara.) That girl is 
right. Every woman should select her own husband. I will 
choose mine. And there is no hammer strong enough on 
earth to break the chain of mv love for him. 

15 



(Enter Clara.) 

CLARA — The Countess Anna Bruno wishes to see Your Excel- 
lency. 

LINA — I don't remember ever having heard of her. You may 
admit her. (Exit Clara.) 

(Enter Anna.) 

ANNA — I have the honor to meet Miss Waldman. 

LINA — If honor you deem it. 

ANNA — I have an object. 

LINA — Be seated and explain. (Sits down.) 

ANNA — I am the Countess Anna Bruno, and drove out to call 
on you in regard to my nephew, Leo Bruno. You know him? 

LINA (Annoyed) — Yes, I have met the gentleman. 

ANNA — He is deeply in love with you and wants you to become 
his wife. He knows that you are engaged to an American 
gentleman, but he believes you ought to marry in your class. 
My nephew is an aristocrat, ranks high in society, and 
would be a good match for you. All I have heard of your 
family makes me believe that your people would be better 
pleased to see you marry a man of rank, than a mere 
American. My nephew has a large income and after my death 
he will become heir to all I possess, which will be 50,000,000 
lires, besides 70,000,000 of his own, left by his father. 

LINA — I feel deeply honored by this proposal, but I must decline 
to hear any more of it. Love knows no distinction of familv 
rank. My heart has made its choice, and with this choice it 
remains. 

ANNA — 'Don't you think you are making a mistake? 

LINA — Not unless heaven and all its promises are lies. My 
heart commands me to accept Captain Lane. That is all 
I have to say. 

ANNA — Is this your final answer? 

LINA — Decidedly so. 

ANNA ( getting up) — Then I hope you will never regret ignor- 
ing my nephew. I bid you good-bye. (Aside) Oh, you fool. 
(Bozvs and exits). 

LINA (walkincr a few steps sobbing) — Fate seems to be against 
me. First my mother and now the Count's aunt. To make 
the thing more unpleasant, Harry is away on a trip to Paris. 
I have nobody I can confide in. They don't understand that 
when a woman loves she doesn't care whether a man is a 
prince or a pauper. 



(Enter Eva.) 
EVA— How are you, sister? You are looking pale. Have you 

been crying? 
LINA— Perhaps ; I have been annoyed. 

EVA— I have just left mother. She told me of the offer Count 
Leo Bruno made for your hand, and said you would not 
even listen to it, nor listen to her wishes. 
LINA— Am I always to be tortured with the name of that man? I 
wish you would talk about something else. I have had enough 
of that subject. You married the man you loved, Eva, and 
you are happy. 

EVA I really did not think vou were so devoted to Harry, so 

I will advise you no longer. At all events you must cheer 
up. Come with me, Lina, I'll show you the present my hus- 
band sent me by express. 
LINA— The lover-husband is always surprising you. Isn't 

it sweet? 
EVA — It makes life pleasant. 

(Both exit.) 
(Enter Leo and Clara.) 
CLARA— Miss Lina is somewhere about, but I think she is in 
need of smoked glasses when you come around. You eclipse 
the worst she ever saw. I'll find her. (Exit.) 

LEO — I cannot help it. My thoughts are alwavs of Lina. Her 
beautiful face is always before me; oh. if I could only per- 
suade her to become mv wife, I would be the happiest man in 
the world. Gilda, in her first call has failed. I hope she 
will succeed in her next. 

(Enter Lina.) 
LEO— Ah. there she is. Good evening. Miss Waldman. You arc 

looking as beautiful as ever. 
LINA (Turns her face from him.) (Aside) How I hate him. 
LEO— How lovely you are— a veritable queen of beauty. 
LINA— I hate the lies of flattery. Count. You had better leave 

me. I cannot bear your presence. 
LEO — Are you angry? 
LINA — I ought to be : I am an engaged woman. T do not want a 

second lover. 
LEO— Dear Lina, I am always thinking about you. Your image 
is before me night and day. I cannot endure the thought of 
leaving you. Such a treasure: no, no. Lina. nothing could 
induce me to lose you. You will be mine. You will be mine, 
do you hear ? 

17 



LINA — Never ! It is useless to hope. 

LEO — It shall be so, dear Lina. Love is the most serious prob- 
lem to solve; it is nature and is hard to explain. You are 
my ideal and unless I realize this ideal life will be miserable. 
I see in you the ang-el of an earthly heaven. Let me be your 
angel here. Do not make a devil of me. 

LINA — Count, as I told the Countess Anna Bruno, I thanked you 
for your offer, but my heart belongs to another. 

LEO — If you will not love me now, you will later. Then the star 
of our glory will shine, as it shines on all who become heroes 
for love's sake. I shall always be yours, and you shall be 
mine. (Leo kneels at her feet.) Do not longer refuse my 
love for you. (Leo takes Lina's hands and kisses them.) 

LINA — I have great sympathy for you, but it is of no use for you 
to plead any longer. If you were the King of Italy and 
Captain Lane a beggar in the street, I would choose him, 
for I love him with all my heart. This is my final answer. 
Good-bye, Count. (Leo gets up, angry.) 

LEO — I see nothing can change you ; for the last time I will ask 

you, will vou become my wife? 
LINA— No! 

LEO — Yes, you will. I swear you will never become another's. 

The American will lose you. You will become mine, mine ! 
LINA — Let me go. (This makes him angry: he takes a quick 

step fonvard and she steps back in fright. He grasps her 

zvrist.) 

LEO — Say you do not love the American. 

LINA — I do love him. and I am going to l>ecome his wife. Let 

me go; you're hurting my wrist. (He tries to kiss her.) 

Oh, don't don't! (She tries to break away.) 
LEO — Kiss me once and I will let you go. 
LINA — Never. No kisses to the man I hate (she screains) ! 

Mother! mother! (He loosens her arm.) You cowardly 

brute, I hate you. 
LEO — Lina, you will soon be in my power, and I will force you 

to be my wife. (Laughs) Ha, ha, you will see. 
LINA — A dagger shall end me first, you serpent. (Runs from 

him.) ' (Lina exits.) 

LEO — She hates me, but she will never become that man's wife, 

if it costs my life. (Exit.) 

(Enter Lina.) 

LINA (looking an.viously about) — I am glad he is gone. Oh, was 
a woman ever won by threats, or force? It looks as if this 
day will bring nothing but trouble to me. 

i8 



(Enter Lola and Eva, zvith bonnets on ready to go out.) 

LOLA — I suppose you have been considering what I have said 
to you. 

LINA — There is nothing to consider. I only consult my heart 
and I act accordingly. 

EVA — But we must sometimes suppress the heart and be prac- 
tical for our own good. 

LINA — I shall never try that recipe. I will remain true to Harry. 

LOLA — I don't think Harry will remain true to you. Men do 
not go to Paris and remain true to one they leave behind. 

LINA — Mother, do not talk that way. 

EVA — The time may come when you may regret refusing the 
Count's offer. 

LOLA — Do not let us waste more words on the subject. Lina 
must remain here while you and I proceed to the railroad 
station to meet your father. Let him talk to her ; I will 
inform him of the Count's proposal. 

EVA — Lina, is it love or stubborness? 

LOLA — My daughter, you know you are subject to my author- 
ity. You must do as I command you; you must wed the 
Count. 

LINA — You can send me to the altar with the Count, but no 
one on this side of heaven can make me say yes. 

EVA — Mother, let her have her way. 

LINA — I zvi'J have it. 

EVA — So would I, sister; we are going; good-bye. 

(Lola and Era exit.) 

LINA — I feel as if I am leading up to a climax. I wonder 
what will be the outcome. 

(Enter Clara.) 

CLARA — There is a Gypsy girl who wishes to see Your Excel- 
lency ; she seems very eager ; she is pretty enough not to be 
a menace. 

LINA — I will see her ; gypsies are so fascinating. Call me when 
lunch is ready. (Exit Clara.) 

(Enter Gilda in picturesque style, with tambourine in her hand, 
Lina sits on right, and Gilda plays tambourine.) 

GILDA — My dear lady, you have the blues, but soon they will 
pass away; I'll make you smile. (Gilda dances in a fas- 
ciating manner. Lina looks on her, and laughs. After she 
dances a few minutes she stops and goes to Lina.) 

GILDA — You are certainly pleased. Excuse my intrusion. I 
knew you had the blues, and I have cured you. 

19 



LINA — True, they are gone. 

GILDA — There are cures for the blues, but none like a noble 
lover who lifts you before the notice of the people. How 
nice to be a woman of title, a Countess. 

LINA — No charm in it for me. 

GILDA— There will be. 

LINA— No, no. 

GILDA — Yes, yes; our tribe knows a nobleman who is fond of 
you, who will lose his mind if he loses you. 

LINA — I am not interested. By the way, is all well at your 
camp? 

GILDA — No, we have many troubles. The court has ordered us 
to move our quarters to-morrow. There is a sick lady with 
us and she requires more milk than we have to give her. I 
shall have to buy some for her child with the little money we 
have left in our camp. We have only our horse and wagon, 
but no provision. Would you be kind enough to help us? 

LINA {opens her purse and offers her ten lires) — Go and buy 
what you need for the sick woman. 

GILDA — Thank you, thank you. God bless you. How can a 
poor gypsy ever repay your kindness? 

LINA — I am glad to be in a position to give you the money 
and I ask no thanks. 

GILDA — How kind you are. But I must do something for you 
in return. I am a palmist, a fortune teller in our tribe, and 
can tell the past and future correctly. Grant me the pleas- 
ure of reading the lines on your hand. 

LINA — I do not believe in it. 

GILDA — No matter: let me read the lines. (Lina gives her 
hand. 

(Gilda kneels to Lina.) 

LINA (laughingly) — Well, I will let you have your own way. 

GILDA (reading her hand) — There are lines here which good 
health and long life. This line says that you are unhappy. 
You have a sweetheart, but, oh ! what danger there is for 
you. You will not marry him. There is another who will 
take his place. (Lina looks frightened.) You hate him, 
you don't want him, but you must take him. If you do not, 
there'll be a great deal of trouble for you ; danger threatens 
your American sweetheart (Lina sighs). It is not too late 
to change your luck ; take the other man ; he is noble and 
loves you truly and his thoughts are always of you. The 
American is false to you, and he is now with another sweet- 
heart in Paris. He is false, and if you wish to save your 
happiness, give him up and marry the nobleman. 

20 



LINA — Go away, girl, go! I want to hear no more from you. 

You are full of lies. Leave me at once. 
GILD A — I will obey; thanks for your gift, but remember the 

words of the fortune-teller; they will come true. Addio. 

(Exit.) 

LINA — The words this girl has spoken trouble me; still there was 
some truth in it ; she guessed I had an American sweetheart. 
This was not accidental. 

(Enter Lola, Eva and the General.) 

BEN — Good-evening, my dear child. 

IAN A -(embracing her father) — I'm glad to see you, dear father. 

BEN — You are not looking as cheerful as usual. 

LINA — Cupid has been shooting at me and I feel the sting of his 
arrows. 

BEN — Your mother and sister have told me of the proposal made 
to you by Count Bruno. This should have pleased you. 

LINA — No, father. I do not want the Count. I want Harry 
Lane. 

LOLA — I do not want you to speak so determinedly of this mat- 
ter. You must consider the Count's ofifer. 

EVA — Lina, such a chance does not ofifer itself every day. 

LINA — Must I be tormented this way continually? Father, dear 
Father, I have always been a loving and devoted daughter 
to you. Come to my rescue, and put an end to this persecu- 
tion. 

BEN — Daughter, we who are older know better what is for your 
good. In the glare of early love many mistakes are made; 
some can never be corrected. Make no mistake, Lina. The 
report on Harry worries me. He is almost a stranger to us 
all. The Count should be your choice. It will please us all 
and bring unending honor and happiness. 

LOLA — If your choice does not suit your family, you will feel 
like an outcast. 

LINA — I do not want to be disrespectful, and will not give ex- 
pression to the thoughts that throng my mind. 

BEN — You must be obedient. We have some rights. It will 
break my heart to see you thrown away on a commoner when 
you could have an honorable name. 

LINA — I will never marry the Count, father. 

BEN — ^You shall — otherwise no penny of mine shall ever be 
yours. 

LINA (kneels) — Oh, father, do not insist in this. Permanent 
harm to me can bring no joy to you. 



BEN — Lina, we may all be wrong ; we may all be wrong, but — 
(enter Leo) Ah! here is the Count now. Glad to see you, 
Leo. (All greet him.) 

LEO — I fancy my call is ill-timed. 

BEN — We were speaking about you. Perhaps you had better 
speak for yourself. We will leave you with Lina. 

LINA — No. father ; no. 

BEN— Daughter ! (All go off except Leo and Lina.) 

LEO — Again, Miss Waldman, I want to lay my heart and my 
fortune at your feet. 

LINA — For me to kick out of my way? 

LEO — No, Lina. Oh, if you could only understand me. 

LINA — I do not want to try to. The more you say, the more 
I see of you, the more I despise you. 

LEO — You are hard, Lina. 

LINA — You are foolish to entreat, Count. 

LEO — I have the consent of your parents. 

LINA — But you'll never get mine. How you weary me. Go! 
I want to see you no more. 

LEO — But you shall yet be mine. 

LINA — Never! I'd rather kill myself. 

LEO — Yes, Lina ; to-night you shall be mine. To-night ! To- 
night ! 

LINA— Fool! Leave me! 

LEO — You spurn me now, but you shall soon cringe to me — 
cringe ! (Leo exit.) 

LINA — No one can take my beloved Harry away from me. 
Death only could part me from him. 
(Enter Clara.) 

CLARA — Miss Lina, the lunch is ready. 

LINA — Thank you, I will go within — to face more trouble. 

(Exit.) 

CLARA — What a fuss they make about marrying a man. I think 
I am in luck and all I have is Rico. Gee, it is nice to be poor 
and get any old man. I could enjoy a whole string of beaux 
without a weep or a sigh. I just wish someone would steal 
me. 

(Enter Gilda.) 

GILD A — I beg pardon. I forgot to leave this lucky ring with 

Lady Lina. 
CLARA — I will carry it to her at once. 
GILDA — No, no; that would break the charm. I myself must 

place it upon her finger. 

22 



CLARA— I don't believe in that nonsense and maybe she doesn t ; 
I will speak to her about it. Wait here. (Exit Clara.) 

GILDA-Now if I fail I lose the reward. {Looks about) I 
hope they will be ready to help me out I may be takmg 
desperate chances, but the money is worth nskmg somethmg 

(Enter Lina and Clara.) 
T TNA— Those Gypsies have such peculiar ways of doing things. 
I will humor her. Now, my pretty little Gypsy, you say you 
have forgotten something. 
GILD A— Yes, the ring. Ah ! a weakness is commg over me, ah ! 

(Faints. Lina catches her.) 
LINA— Hurry, Clara, for my smelling salts, and bring a glass of 

water. (Exit Clara.) Poor creature. 
GILD A (utters a stifled scream, the warning.) 
LINA— I feel so sorry for her. 

(Enter Leo and Lino. They rush on from the side path armed 
and dressed as brigands. They overpozver Lina and chloro- 
form her.) 
GILDA— Work quickly, as we have but httle time. I will be off. 
LEO— The chloroform will keep her quiet. 
LINO— Carry her to the wagon, and then ofif with her to the 

mountains. Gilda has done a very good job. 
LEO— Quick Ah ! the precious burden. I shall give Gilda an 
extrk reward. Gilda, remain quiet and you will never be sus- 
pected. 

(Weird music. They carry Lina off and run quickly.) 
(Enter Clara ivith smelling salts.) 
CLARA-MissLina! {Looks off. She runs and looks towards 
the mountains, then dozvn C of the -^^^^f^^^.'-^^^^f^;) „2^- 
someone is carrying Lina \way. Help ! Help Hdp! 
(Familv rushes in.) Lina has been kidnapped! (All excite- 
ment. 'Clara goes to Gilda and puts the smelling salts under 
her nose. She zvakes up in mock surprise.) 
(Leo enters a^rain, making believe that he does not know any- 

^ thing about zdiat has happened.) 
BEN— Saddle horses at once, and woe to the man who hurts my 

daughter. Hurry! 

(Solemn music.) 

(Curtain Falls.) 



23 



ACT II. 

Scene 2: Representing mounta'ins, zvith Gypsies on N.C. Seem 
shoii's a river running into the valley, high trees around, 
Gypsy tents on each N . corner. Near each tent is a black- 
smith's arc and everything that is required by a blacksmith, 
in Gypsy style, ready to zvork. Some are making coal shovels, 
and some are making Jew's harps. The Gypsy blacksmith sits 
on the ground working with a hammer and making a noise. 
Light is partly cloudy to sunshine. As the curtain rises the 
Gypsy girl enters, tambourine in hand, performing a Gypsy 
dance and lastly a brilliant polka. The blacksmiths stop their 
work and look at her in admiration. After the dance she 
beckons to them. 

LEONORA — Come, boys, let us have a good time to-day ; we'll 
all dance together. (All get up and join her.) 

FAB — The chief has given us plenty of wine to drink and liberty 
to enjoy ourselves to-day to celebrate his good luck. To- 
night we'll leave this place and go to the Loreto Mountains, 
where the other tribe we'll meet. Boys, let us complete our 
work; we have one hundred Jew's harps to finish and fifty 
shovels. (All go back to zvork again. The dancing girl goes 
out. The music plays at interzuls; the men drink wine from 
flat bottles, zvhich each one has at his side. Fabio sings.) 

THE GYPSY'S WINE SONG. 
Oh, fill up a measure 

Of bright sparkling wine, 
And sip of the pleasure 

That's born of the vine. 
'Twill drive melancholy 

And worry away, 
And make the heart jolly 

And proof against decay. 

Tho' fortune forsake you, 

And fate be unkind. 
A tumbler will make you 

Feel happy in mind. 
A^", drown all your sadness 

In wines' soothing stream. 
And taste of the. gladness, 

Of which poets dream. 

(Second time all join in. Men hammer nnz'ils, drink zvine and act 
as if intoxicated.) 

(Enter Gilda, all jump up and e.vit.) 

GILDA— I have well executed the task entrusted to me. Lina 
is here. Little does she know that Count Leo is the one who 

24 



abducted her. His disguise was perfect. Ah, I see them 
coming down the path. (Three whistles, Gilda hides behind 
a rock.) 

(Enter Leo, Lina and the Chief.) 
LINO — Young lady, do not be frightened. No harm will befall 
you as long as you remain quiet. We are brigands as 
well as Gypsies, and we stole you to get a ransom, as we 
need the money to leave this place. Your father will pur- 
chase your liberty, and when the money arrives my son will 
take you home. 
LEO — Yes, father, I will guide her as far as the capital. 
LINA — So money is the object. To secure my release, my 
father will not hesitate to give any sum within his means, 
but he will punish your crime; remember that. 
LEO — Suppose I go and send a message to her father to leave 

100,000 lires at Santa Marie Chapel. 
LINA — Yes, do so quickly. I want to get away from here. 
LEO — I must receive orders from my father. Have I your con- 
sent? 
LINO— Certainly. Get off without delay. Come into the tent, 

young lady. (Chief and Lina exit into front E tent.) 
LEO — Ah, sw^eet Lina does not know that I am the Count Leo 
Bruno. I have her in my power, and she will be my wife. 
I will be back in reasonable time with the ransom. But in- 
stead of taking her home, I will take her to Monto Cello, 
where she shall know my identity. If she makes a scene, this 
drug (Holds up bottle) will put her in a trance. Then I 
will kiss her without remonstrance. She will be mine, mine, 
mine! (E-'^H ^^o) 

(Enter Chief and Lina from tent.) 
LINO — My son will return shortly. 

LINA — I hope my father will send the money without delay. 
(Chief whistles once.) 

(Enter Gilda.) 
LINO — You will attend this lady; let her want for nothing. 
Fabio and Martino will guard the outside posts. (Chief 
whistles tzvice, enter Fabio and Martino.) This young lady 
is in charge of Gilda. Both of you stand guard on both 
sides of the pathway to our camp. No one must enter. You 
must be well armed. You understand ? 
FAB— Yes, chief. (Exit.) 

LINO — I leave you in charge of this girl, madam ; make no effort 
to escape, for it will be of no use. (Exit Chief.) 

GILDA — What can I do for you, miss^ Do you wish any re- 
freshments? (Plaintive music.) 

25 



LINA^No, nothing, nothing ; I have no desire for anything but 
to be away from here and all of you. (Lina looks at Gilda's 
face.) My God! I have seen your face before! You are the 
Gypsy girl who told my fortune. Oh, take me home from 
here, in some secret way, and I will give you one thousand 
lires. 

GILDA — My dear young lady, you heard the chief's orders. If 
I tried to aid you to escape, I would be shot dead. You can- 
not leave until the ransom arrives. Yes, I am the girl who 
told your fortune. It is happening as I said it would. 

LINA — I do not believe in fortune-telling. I would rather be- 
lieve that I am the victim of a conspiracy and that you are a 
party to it. 

GILDA — You are mistaken. It is your destiny to either change 
your affections or be subject to this misfortune. Come into 
my tent and have a bite to eat. 

LINA — I don't care for anything to eat, but I will take a drink 
of water. Then I will lie down for a while. How Capt. 
Lane will punish the perpetrators of this crime! 

GILDA — Follow me, Miss Lina. {Soft music, both exit.) 

(The lights turn into moonshine. Enter the Chief and Leo 

from the right.) 

LINO — I told you there would be no failure. Gilda is a smart 
girl, and true to her tribe. 

LEO — Yes, everything ended right, and here is a little extra 
money for you and the girl. 

LINO — You are a prince. 

(Enter Fahio, zvho comes run}iing in in great excitement.) 

FAB — There is a troop of soldiers coming this way, and they 
are hurrying. 

LEO — What can this mean. I am afraid that her father has 
sent troops to capture us brigands. I will drug Lina and 
make oflf with her. (Leo enters the tent.) 

LINO (Whistles four times. Enter all the Gypsies.) Get your 
guns and knives ready at once, and lie down in front of 
Gilda's tent. You must be on the alert. 

(Enter Gilda from tent.) 
LINO — Where is the young lady? 

GILDA — She is asleep. Count Leo has drugged her. She ap- 
pears as if dead and will not wake for five days, he says. 
LINO — Let her remain so ; you must not leave her for a minute. 

Do you hear ? 
GILDA— Yes, chief. (E.xit Gilda to her tent.) 

(Enter Leo.) 
26 



LEO— This drug will do its work. Lina will be in a trance for 
five days, and seem as if dead. Let us go to the top of the 
hill and see who is coming. (Chief goes up path.) 

LINO (Chief comes down, trumpets are heard in the distance) — 
Be on your guard. (All run off and return at once, zvell 
armed.) 

LINO— Now lie down and pretend to know nothing when the 
strangers appear. You know my long whistle. I shall only 
give that signal when it is absolutely necessary. You must 
then shoot to kill. We must not be captured. Now let us 
hide quickly. (All exit on L and R.) 

(Enter Capt. Lane.) 

HARRY (Lookng around)— ^e are on the right track. I hope 
I will find Lina safe. If not, I, Capt. Harry Lane, wdl 
surely avenge her. We will search this hill, and if we find 
the guilty ones, we'll show them no quarter. (Exit.) 

(Enter Leo.) 

LEO— It looks bad for me now. Police surround the camp, 
there is no way of carrying Lina through the lines, and Capt. 
Lane is back from Paris. It will not be good for him if he 
gets in my way. I will have Lina if it comes to fight. When 
we meet it will be Capt. Lane's life or mine. 

(Enter Harry.) 

HARRY— What are you doing here ? 

LEO— I— eh— I— oh— this is our camping ground ; we leave here 

to-morrow. 
HARRY— Perhaps to-night, never to return. A young lady has 

been abducted by two Gypsies. The trail leads here. The 

police are on their track. We are going to find her. What 

do you know about it. Speak quickly. 
LEO— I know of no young lady here. 
HARRY— You lie ! I will have the police search the tents. 
LEO — You will not enter these tents. 
HARRY— We'll tear them up and throw them away, if we like. 

(Look on L.) Here come the police now. 
LEO — I will not submit to them or to you. 
HARRY — We'll cut your head ofif if we choose to. 
LEO I do as I please in my camp. I turned to be a brigand for 

love's sake, and mere police will not frighten me. 
HARRY— What does this mean? What are you speaking about? 
LEO— It means that you had better get away from here, or your 

life will pay for your bluffing bravery. 

27 



HARRY — I'll show whether I bluff or not. {He draws sivord.) 
Who are you ? 

LEO — You shall never know. Prepare to defend yourself. 

HARRY — How I wish you were the Count Leo Bruno. I would 
have a little fun with you. Beware! (Leo runs behind tent, 
takes a sivord and goes to Harry.) 

LEO — I am ready to fight. 

{Duel; after quick fight Harry cuts Leo on the breast. He stag- 
gers back and drops his sivord.) 

{Enter the chief with sword in his hand, he fights with Harry.) 

LINO — I shall take my son's place. {Leo recovers). The 
damned soldiers are here. 

HARRY — Yes, for your notorious gang. 

{Both fight. Harry strikes the chief on the breast. He stops 
fighting, falls, gets up again, and at once gives a long whistle. 
Enter the Gypsies with knives, revolvers and guns. Leo es- 
capes. The Chief appears in great rage. Enter Captain 
Giacomo with several Bersagliers, who are sharpshooters, 
and a few Alpini.) 

GIA — What does this mean? 

{The Gypsies stand ready to fight.) 

HARRY — Captain, you will have to use force at once. 

LINO {to Gypsies) — Now, boys, defend yourselves; fire to kill. 
The sharpshooters stand up on the mountain ready to fight.) 

GIA — Attention ! Carry arms ! Fire ! 

{Heavy fighting takes place, the Alpini run up and down the 
mountain, catching some of the Gypsies ivho are trying to 
escape with large stilettoes in their hands, and trying to kill 
the Alpini, but the Alpini take hold of them, holding them by 
the throat with one hand and with the other holding the Gyp- 
sies' hands that hold the knives; they appear savage. After 
the fight the Alpini choke them and throzv them down. Most 
of the Gypsies are tvounded and lie stretched out on tlve 
ground. Smoke on the stage. Soldiers break tents. Some 
of the Gypsies escape. Leo runs from behind rocks after 
tents are broken. The Captain finds Lina stretched out on a 
little bed of hay.) 

GIA — There is Lady Lina. Perhaps she is hurt. Doctor, attend 
her at once and loosen her clothes. {Doctor makes an exami- 
nation). 

PIET— She is dead. 

GIA — Dead? Then her slayer must die. 
LIEUT — She is growing cold. 
GIA — This will be an awful shock to her parents. 

28 



HARRY — Her slayers must die ; every one of them, I swear. Oh ! 
I am going mad. {Harry takes a rei'olver from his pocket. 
Looking at the pistol.) Lina dead, this will bring me to you. 
{The Captain and the Doctor take the revolver from him, 
as he is about to shoot himself. Harry sinks into their arms. 

{The soldiers place Lina on a stretcher. All stand near upper left 
corner. Harry kneels beside Lina, weeping. Carriage noise 
heard behind the scenes.) 

PIETRO {to Giacomo)— The General! 

GIACOMO — Oh, Lord, who has the heart to announce the sad 
news to the General? 

{Enter General zvith tzvo attendants. All bow to the General.) 

BEN — What news, Captain? 

GIACOMO — We attacked the Gypsies and beat them into sub- 
mission. 

BEN — Any trace of my daughter? 

GIACOMO— Found ! 

BEN — Found? Where is she? Ah, Captain, you deserve great 
credit for this bravery. 

GIACOMO {appears sad, zvith his head bozved) — Sir — General, 
Miss Lina is found, but 

BEN — But, but v,fhat? Captain what does this mean. Tell 
me what has happened to my poor daughter. Was she hurt 
during the battle ? 

PIETRO— No; we found her dead. 

BEN {in despair) — Dead! The coward killed her, Captain, 
for vengeance. {Plaintive music. Four soldiers carry Lina 
on a stretcher.) My child! My child! {Goes to Lina. 
Harry, weeping, makes a sad picture on C. of the stage.) 

BEN — And so Lina is dead. My heart is broken when I think 
of the way I tried to marry her oflf against her will. The 
sweet flower, cut off in the springtime of life! {General 
sees Harry. ) Oh ! Harry ! Harry ! You find your sweet- 
heart dead. Her love is calling you. You were the flower 
of her heart. We condemned you in life, but now that 
Lina is dead I realize that we should never have opposed 
her choice. We thought Count Leo would join us in this 
chase, but he was not about ; but Lina's faithful sweetheart, 
Harry, is here. 

HARRY — General, your loss is great. I fancy mine is greater. 
My heart is broken. (Takes bo.v from his pocket zvhich 
contains the jezvelry bought in Paris.) Here are the jewels 
that were to glisten on Lina on her wedding day. This is 

a© 



yours, my beloved Lina, and I beg you, General, to let the 
jewelry be buried with Lina, for my heart and hopes will 
be buried with her too. 

(Lola shouting from behind the scene.) 

LOLA — There I see my daughter on the stretcher! 

(Enter Lola, Eva and Clara. When Lola and Eva see the body 

they scream.) 

LOLA — Poor martyred girl ! I really aided in her killing. 

EVA — So did I! (Lola falls into the arms of the Doctor and 
Harry, and Eva is attended by the Captain and the General.) 

BEN — Lina, your foes shall sufifer or else your father will soon 
join you in the everlasting sleep. 

HARRY — Vengeance shall be mine ! My sword shall drink the 
blood of Lina's assassins! (Holds sivord aloft.) I swear 
it! 

(Pictnre. Curtain.) 

END OF ACT IL 




30 



ACT III. 

Scene 3 : Representing a cemetery in Naples, showing the Wald- 
man vault of beautiful marble, which must be situated on R. 
second E. On top of this tomb is a steeple and on top of this 
is an angel holding a cross. The door of the tomb faces the 
audience. The center of the tomb is three feet high. The 
marble casket is to be tiuo steps from the door of the tomb 
and the doors of barred iron. When the tomb door is opened 
it must be arranged so that the audience can see the casket. 
There is a small roadzvay near the tomb zvhich shows a 
monument with a stone cross. Flowers around the tomb. 
Upper scene shoivs Vesuvius in the distance, flames and 
smoke coming from the volcano. Upper R cor. shoti's front 
view of cemetery. 

{Enter Martha with floivers in her hand; appears in mourning ; 
when she is near the tomb she dries her tears, places the 
flozvers on the tomb of her dead sweetheart, and then 
kneels and embraces the cross on the monument.) 

MAR. — My beloved Romeo, I have brought the sweetest flowers 
that could be procured. Since you died I have not slept, nor 
had any peace; you're the only man in the whole world I've 
ever loved. {Enter Matteo ; zvhen he sees Martha crying by 
her szveetheort's graz'e he shozi's anger.) Now I've lost you, 
lost you forever ; my heart is broken, nothing is left for me 
but sorrow and tears until I die. (Martha loosens her em- 
brace, stands up and faces the audience. Matteo in rage 
listens from behind her and appears zvild.) 

MAT— Martha has lied to me. 

MAR. (looks to the graz-e) — Oh, Lord! I pray you to take me 
to heaven to meet my beloved Romeo, who every night comes 
in my dreams and says, "Martha, come to my grave and pray 
for me," and here I am. praying. My parents would force 
me to marry Matteo Bianco, but I don't love him. My 
heart belongs to you, till my dying day. I'll marry Matteo 
for my beloved mother's sake and to save my family from 
misery ; they have lost all and Matteo is rich ; he will 
pay all my family's debts. {Exit Martha.) 

MAT. — Ah. then it is true, as my friends tell me. Martha comes 
daily to her dead sweetheart's grave (thinking.) She still 
pines for her dead lover. She has promised to wed me, yet 
she says she does not love me. It drives me crazy. (Acts 
as if mad.) Ah. deceitful woman ! She'll marry me for my 
money and to save her family from misery. It w^as a lucky 
thing for me to discover her deceitful heart, but now I'll 
have revenge on her. 

(Enter Martha from R.) 

MAR. — I forgot to place the flowers on my beloved Romeo's 

31 



grave. (IV hen she sees Matteo she is frightened.) Oh, 
Matteo, this is the last place I would expect to see you. 

MAT. — I have followed your footsteps; finally I found you at 
the right place. 

MAR. — I happened to pass by here, and I thought I would go 
through the cemetery. 

MAT. — Yes, I know where your heart belongs, and I fear the 
cemetery will be my abode all too soon. 

MAR. — I do not understand you. 

MAT. — You cannot forget the old love, although promised to the 
new. 

MAR. — Do not envy the poor consolation I find in visiting the 
grave of my dead friend. He loved me long and he loved 
me without jealousy. Oh, Matteo, you have been very kind ; 
I hope I did not displease you. 

MAT. — You drive me mad ! 

MAR. — Before we should wed, I thought I would pay my last 
visit here. 

MAT. — I want no heart that is divided. 

MAR. — Matteo, do you not want mine? 

MAT. — I would rather have a bullet pierce your heart, than have 
it give even one beat for another. 

MAR. — But the dead, the dead cannot stand in your way. 

MAT. — You are deceiving me, and I will be revenged (Tries to 
grasp her; after a short struggle she runs off the stage; as 
she disappears he fires; she utters a short scream. Matteo 
goes off, but re-enters in a moment.) 

MAT. (in e.rcitement) — She is dead. She swore she loved me, 
yet her heart was in the grave with her dead lover. (He is 
attacked by remorse.) And now what shall I do? She, all 
that I had, is gone, and I — I will be executed for killing her. 
I'll follow her; my life might as well end with hers. (Takes 
paper and pencil from pocket and zvrites a note.) "I, Matteo 
Bianco, have just killed my sweetheart, Martha Silvera, be- 
cause she was not true to me, and now in remorse for my 
mad act, I write this so that no one should be falsely ac- 
cused. — Matteo Bianco." Where it can be easily found, by 
the side of my loved one. I will place it and then I will give 
up my life to find her in the other, the better world. (Takes 
out pistol, and runs off the stage; in a moment a shot is 
heard. Tragic music.) 
(Enter Salvo from same side, carrying a fezv trinkets.) 

SALVO — Murder and suicide, these are awful crimes. My Fail- 
ing is to be a thief; if I didn't take these trinkets someone 
else would. But I'm wise and I'll take them. Ah, what's 

32 



this^ {He picks up note, ^^lances over tt and throzvstt m 
front of Una's tomb.) Tust the murderer's confession! Now 
ifor a big haul. So this is where they have interred General 
Waldman's daughter! I read in the nev.spapers that her 
costlv wedding jewels were placed in the tomb with her. i 
must get them; what good are they to her now? They will 
strengthen mv finances, for I am in great need of funds. 
Nobody will ever know of my act. for the dead tell no tales. 
(Tries door ) The door is locked, but I have the necessary 
tools to open it. (Sah'adore looks tozvards his friend Luco.) 
Keep a close watch; the jewels will soon be ours. 

(Enter Luco from L. Tremolo inusie.) 

LUC— Be quick about it, Salvo. 

SALVO— Leave it to me. (Salvo tries several keys, then he 
takes a sazu and euts around the lock, and the door of tomb 
opens he looks around, then he takes a key and opens the top 
of the marble casket. He goes behind the tomb, and faces 
the audience. Both men appear frightened. Salvo begins to 
take the jewels: first he takes the necklace, then her rings, 
then her breast-pin, then he tries to take the diamond brace- 
let from her zvrist. but cannot unfasten it.) 
(Enter Harrv from L. U. E. zvith flowers: appears sad. He 

looks tozvard the audience.) 
HARRY (looking at the bouauet)— Flowers for the tomb of my 
sweet Lina. ^ Tt is terrible to have her snatched from me 
like this the fairest flower that ever bloomed. Tt breaks 
mv heart to pieces; T cannot sleep like T used to. and when 
T doze it is to dream of her calling to me that she is not 
dead but is buried alive, and bids me to come to her. But 
it is onlv a dream, a bubble that bursts when T open my eyes 
again. Luck has been so good to me. and now fate has been 
so unkind. I have lost my nerve. I could not hold a kitten 
that wanted to eet awav. T feel so weak. (Both do not 
notice Harry, and in their haste to get all the jewels thev 
start to cut off fJnas hand: she scream.^. Harrv confinmnq:) 
That is the voice in mv dream! (Another scream.) Tt's Lina. 
(Runs to her.) Get out of here, vou dogs, or T will shoot 
vou where vou stand. You are robbing the dead, are you? 
(Fires.) Tf you move the next shot will drop you. 
(Enter Doctor in surprise.) 
DOCTOR— What's up. Harry? 

HARRY— Here doctor, help me to search these men. and to 
take from them what thev have taken from T.ina's casket. 
(Fight ensues, but the robbers escape zvith the jewelry. Harry 
and the doctor run after them, but they soon return.) 

33 



HARRY — I hated to shoot them. I didn't care for the jewelry. 
I only wanted to make them prisoners. 

GIA. — Never mind, they will be arrested. I know one of them, 
Salvo; you will get the jewelry back. (Both go near Lina. 
She moans.) Back to life as you have dreamed. Harry, 
help her up. {Binds her ivrist and takes her from casket.) 

HARRY — Lina ! 01\ I am mad ! Do you live, or have my senses 
left tne ? 

LINA — Oh, Harry. Harry, I have called you so long. They were 
killing me, when you came to the rescue. The thieves were 
cutting off my hand to get my diamond bracelet. 

HARRY — Ah, I am glad to hear your sweet voice again, Lina. 

LINA — I feel so strange. Ah, it is terrible to be buried alive. 
The brigands who kidnapped me and brought me to the 
gypsy camp gave me a drug which made me appear as if 
dead. Oh, I was conscious all the time, but I could not 
move or speak. It is a wonder my life didn't snap. (She 
leans on Harry. Sees note, picks it up and reads.) Another 
brigand, I suppose. (Keeps note. Puts it in her breast.) 

HARRY — What you tell me is marvelous and yet so true. 
(Clasps her.) Ah, Lina, if I am still dreaming, I have you 
while the dream remains? 

LINA — You are not dreaming; you came in time to save me. 

HARRY — Doctor, is this lady alive or dead, or am I myself a 
madman ? 

GIA (doctor takes Lina's ivrist) — The lady is alive and you ought 
to be crazy with joy. 

HARRY — Lina, I have you back again. {Kisses her.) I thought 
you dead and my heart was broken. Once again the sun- 
shine in life breaks through the clouds; our woes are past 
and the memories of them will sweeten the joys to come. 

GIA. — The robbers got away, but they will not escape. 

HARRY — I don't care for them now ; I thank God that He has 
given Lina back to me. Now your relatives are no longer 
against me. Before they condemned me to be a notorious 
man, but the truth came to light. The answer of your let- 
ter came from the Secretary of Navy reads as follows : "Cap- 
tain Harry Lane is one of the peers of our navy and belongs 
to one of the best families in America. His record is with- 
out a smirch. He is destined for still higher honors in his 
calling." Who could have sent the scurrilous letter? (Lina 
appears happy.) So, dear Lina, some wretched rival is to 
blame. (Lina kneels ; iMle she is praying, this song is sung 
behind the scenes.) 

34 



THE SONG OF THANKSGIVING. 

Oh, heaven, I am glad that still the sun 
Has risen for me, vmhappy one. 
The love I ask for none but me 
That will be mine ; his I will be. 

(Lina }^ets up, embraces Harry; both stand like statues.) 

And safe in Harry's loving arms 

What do I care for the threatening arms? 

My family has forgiven me, so 

There cannot be cause for any woe. 

(Tableau; all retire from L.) 
{Enter Leo from R. He looks surprised and disturbed, goes 
tozvards the tomb; ivhen he sees that it is open he is 
frightened.) 

LEO — The tomb open and the bodies of a murdered man and 
woman on the road. What has been happening? Someone 
must have stolen Lina. It was a mistake to bury all her 
jewels with her. All my work is lost. {Looks at casket. 
Picks t(-p screzvdrivcr.) Ah, she has been rescued. She's 
alive ! Then she will yet be mine. I will kidnap her again ; 
drug her, and carry her in a steamer to a foreign country, 
and force her to marry me. Ha! {Runs off on C.) 

{Enter Salvo between tzvo mounted police.) 

VITO (roughly to Salvo) — What were you doing here? 

SALVO — I was on my way to work. 

ANT. — His hands are covered with blood stains. He must have 
killed the man and woman who lie on the road. 

SALVO — No, no, no; I saw him do the shooting; he killed the 
girl and then himself. 

VITO — He is lying; I know this man is Salvo, the notorious 
burglar. The police have been trying to catch him for a 
long time. We are lucky. I'll search him ; he is the mur- 
derer, I am sure. 

SALVO — I am innocent of this crime. 

VITO — You are guilty of this and many others. ( The police 
search Salvo and find the diamonds and a burglar's set of 
keys and tools.) Where did you get these? Ah, we can see 
now that you are the criminal you are accused of being. You 
shall die for your crimes. We will be richly rewarded for 
capturing you. 

SALVO— I killed no one. 

VITO— Liar ! 

ANT. (examining the tomb) — The body is stolen. 

35 



VITO — Thank heaven, we have the arch criminal. It will be 
well for us. 

SALVO — I am innocent, and shall be able to clear myself. (The 
police put handcuffs on Salvo in a rough manner, and hold 
him between them.) 

VITO — Enough! Off to jail with you. 

ANT. — How quickly murder is found out ! It cannot hide. It 
cries to heaven for revenge. 

SALVO — I am not a murderer. 

ANT. — We caught you with the blood still wet on you. 

SALVO — This is a terrible mistake. (Makes show of fighting.) 

VITO — Beware! Do not meddle with the majesty of the law. 

SALVO — I respect no law. I am innocent. (Fights with the tzvo 
policemen, zvho handle him very roughly. He is overpow- 
ered.) 

VITO — Off with him. A just fate awaits him. 

{Curtain falls.) 

Scene 4: A small prison cell, small door on N. E. zvith iron bars. 
A windozv on L, a small table zvith a cheap Roman oil lamp 
on center of it. A small bed on N. R. corner on R. E. A 
chair on L. side of the table; very little light on the stage 
except the oil lamp lighted on table; not much light in 
theatre. Salvo sits on L. of table zvith right hand on it, and 
head resting on his arm. A few seconds before the curtain 
rises, church bells are ringing sweetly and slozvly, till the 
curtain rises. Song behind the scenes: 

HOW SAD THE HEART. 

How sad the heart when life's last hope 

Is ready to flutter away, 
And bells that sound the knell of death 

Remind of a brighter day. 
Oh, what avails when the law assails? 

Life for life is its stern decree, 
But till the end on hope depend ; 

There still a chance may be. 

(Chorus.) 

While hot tears fall, oh hear the call 

That of a heart now too full with pain. 

To life's bright day show him the way : 
Let not his appeals be in vain. 

(While they sing this song Salvo zveeps, then dries his tears.) 

36 



Though death bis body soon will grasp, 

Yet his pure soul away will fly, 
Into the place that angels grace 

In the land that's beyond the sky. 
Here a crown of sharp thorns is ours 

And they pierce to the heart with pain ! 

Yet while Hfe stays there's many ways 

A chance to live longer to gain. 

SAL. Aafter the song is over, looks towards heaven, gets up) 

—Oh, heaven, I have all the reason to cry, because there was 

no justice for me. That's why I am in this living tomb. There 

is nothing left for me but sorrow, perhaps, until I die. How 

could they ever accuse me of such a crime? Oh, this agony 

is terrible. What shall I do, what can I do to clear myself 

of this false accusation? Oh, heaven, when I think of this 

torture, it makes my blood run cold, and I feel numb. It is 

terrible to suffer for a crime I never committed. I would not 

kill anyone for all the money in the world. I wish I had never 

gone to the tomb; I would not be here to-day. My only 

wish is to see my daughter to unburden my sorrow to her. 

(Enter Luigi, the prosecuting attorney and the jailer, who remains 

at the door. Luigi holds the death warrant in his 

hand and goes to Salvo.) 

LUIGI— In the name of the Law, it is my duty to read to you the 
the death warrant: 

(Contents of Death Warrant.) 
"You have been tried and found guilty of murder in the 
first degree on the tenth day of August, by a Judge 
and jury. Sentence was passed upon you, and the date set 
for your execution fixed for the fifth day of September, at 
four o'clock in the evening of that day." The time has come 
for you to prepare for the execution. 
SALVO (appears to faint and weep, Luigi comforting him) — 
This is a great blow for me. I suffer, an innocent man, 
charged with a crime I know nothing of. 
LUIGI— I am sorry to tell you that the Judge won't give you 
another trial, so the sentence will be carried out to-morrow, 
at 4 P. M. Luco's trial will take place next week. 
SALVO (looks dozvnhearted, faces the attorney)— I am inno- 
cent ; I never killed anybody. There was no justice done to 
me according to the Law. I am condemned to death, but I 
will yet be found innocent. 
LUIGI — If there is anything you desire to have, any wish to ex- 
press before you die, and I can be of service to you, do not 
hesitate to say so, and I shall be glad to do anything I can 
for you. 

37 



SALVO, (shaking his head) — It is of no use for me to speak 
now. During my trial the Judge never let me say a word, 
never let me explain anything. I wanted to tell him how I 
learned of the tragedies and got the diamonds from the tomb. 

LUIGI — How did you get them ? 

SALVO. — A friend told me that General Waldman's daughter 
was buried with one hundred thousand dollars' worth of dia- 
monds, so I went for these, and on the way heard shooting 
and found the dead bodies near the cemetery. I examined 
them and then went straight to the tomb to procure the dia- 
monds. You know the rest. 

LUIGI — Perhaps you are innocent. If so, the State is about to 
commit a great crime. It is now too late to save you. 

SALVO^ — I have told you all; I have nothing to confess; I am 
innocent of the crime. 

LUIGI — I have nothing to say, but may God save your soul. 

SALVO. — Good-bye. (Exit Lnigi, Salvo is nervous and sighs. 
After a few seconds he zvalks slozvly to 2 E. on C.) Oh, 
Lord, my last hope is gone ! I desire justice but cannot get 
it, so the best way to cure my agony is to die as soon as 
possible. (Enter jailer and Dora, Salvo's daughter; she comes 
springing along.) My child, have you come to your father 
at last. I am granted the joy of pressing you once more to 
my breast, the joy for which I longed. (Dora clasps her 
father about the neck and lays her head on his bosom. Both 
appear sad and stand like statues, facing the audience, 
and both listen to the song zvhich is sung behind the scenes. 
Music. After Salvo and Dora stand still azvhile Dora ap- 
pears to faint: Salvo takes her gently and places her on a 
chair. Dora recovers and embraces her father again.) 

MY SWEET DREAM. 

Sweetheart, what joy keeps ever through me stealing. 

While thinking of the time when you'll be mine ! 
There is so much of gladness in the feeling 

That since we've met my life has seemed divine, 
In my sweet dream of you, you promised to be true, 

And tell me I am yours and you my own. 
These words unto my heart the sweetest joys impart. 

Alone I'm yours and you are mine alone. 

Refrain. 
It seems you were meant for me ; 
I was meant for none but thee. 
My heart loves because it knows 
You are as pure as a rose. 

38 



Till I met thee o'er the sea. 
Dark were brightest days to me; 
And I never knew love's ways 
Sweetheart, all my lifelong days. 

No other eyes can charm me with their gleaming, 

No other smile can hold such charm for me. 
The whole night long I find myself a-dreaming 

Of the time when you my wedded bride will be, 
The time will be here soon like sweetest flowers of June ; 

Let's keep the haunts of happiness a-teaming; 
Our love song we will sing with music's softest ring. 

And live a life so glad 'twill seem like dreaming. 

DORA — What, am I dreaming? I heard someone singing. 

SALVO. — Yes, my child, they are happy while we are broken 
hearted. 

DORA — Yes, father, it was only two days ago I heard the ter- 
rible news about you. Oh, my heart is sore. I thought 
I would go mad when I neard that you were in prison for 
murder. 

SALVO. — My child, God knows I am innocent. 

DORA — Oh, Father, innocent and still condemned to death. 
If there is any hope for a chance of pardon or any escape, 
God will not allow an innocent man to suffer such an awful 
penalty. 

SALVO. — Dora, my child, I can see the suffering in your face; 
why did you not write to me all these years? I wrote often 
when you were first married, but I never received an answer 
from you. At last I lost hope. I thought you either dead, 
or gone to some strange country. 

DORA (appears surprised) — Oh, father, what are you saying? 
Didn't you receive any of my letters ? The last one you sent 
me nearly broke my heart. In it you said, "Dear daughter, 
I have just heard something which is destined to separate 
us for life; you deceived me and your husband. Do not try 
to find me, or discover where I am, for your search will be 
useless." My husband found the letter and the next day de- 
serted me. although I am innocent. 

SALVO, (surprised) — I never wrote you such a letter. Your 
stepmother deceived me in everything, but I never cast you 
out of my heart, my child. I never received a line from your 
gentle hand. God knows how I longed for the smallest word 
from you, and how I worried about you, but now everything 
is cleared up ; your stepmother must have destroyed your 
letters and she must have written to you in my name. Oh, 
the boundless misery she has brought to me. She deceived 
me by going with Count Russo, and staining my honorable 

39 



name. That stain I shall never be able to wash away. When 
I saw myself dishonored, I left her forever and became a 
tramp, a thief. Now I am under sentence of death for my 
ill luck. I blame her entirely. 

DORA — Father, I pity you. I wish I could save your Hfe. 

SALVO. — It was like this: General Waldman's daughter was 
buried with nearly one hundred thousand dollars' worth of 
diamonds, and wedding gifts. I heard of it. As I was in 
need of money I went to secure the jewels. By the side 
of the tomb I found the bodies of a man and woman, one a 
murderer, the other a suicide. I took such trifles as they 
wore, and then proceeded to the tomb. I opened it, un- 
screwed the casket and then proceeded to load myself with 
the jewels. A bracelet of diamonds was locked on the lady's 
arm, and I could not open it. 1 took a knife to cut her 
wrist, and she roused up screaming. She was in a trance 
and not dead. The police found the bodies and arrested me. 
I was charged with murder, the Court found me guilty 
and sentenced me to death. You see, my dear, I am inno- 
cent. 

DORA — Oh, father, innocent father, why did not the General's 
daughter come to help you at your trial ? 

SAL. — The Court condemned me without giving me a trial, and 
the General's daughter was not present at all. But beside 
the dead man I found a peculiar paper, which I dropped 
again at Lina's side. Lina or her lover must have picked it 
up. That note was the murderer's confession, and it could 
save my life. 

DORA — Oh, Lord, how could it be obtained? 

SAL. — It may not be too late to find Miss Waldman. Seek her, 
tell her your mission at once, and try to get that paper from 
her. 

DORA— I will. Where is Miss Waldman? 

SAL. — xA.t Naples. It will take several hours to get there. 

DORA — I'll pawn my diamond ring at once and be off. 

SAL. — You may save my life (embraces her). 

DORA — God will save your life (zvith her right hand upraised 
to heaven. At this moment an earthquake is felt, the prison 
shakes, lamp falls from table and goes out, and Salvo and 
Dora are horror-stricken.) 

DORA^An earthquake! 

SALVO — Oh, God ! save us ! {Stage darkens at once and quick 
change is made to next scene. Music.) 

Scene 5: A drop scene. This scene represents a viezv of Gen. 
Waldman's Castle, a beautiful marble structure. The castle 

40 



is surrounded by garden trees, porch on front, myrtle and 
flower fences on both sides of the road. Few steps to the 
porch. Gate on E. Time — evening; moonlight. 

LEO (Enter Leo, dressed very richly, ivith silk hat and cane) — 
I have a new plan to g-et her. My kidnappers have tried 
night and day to steal her, but she never goes out of 
the house. But with this new plan this evening she will be 
caught in a trap. I have given all instructions to two lead- 
ers of brigands and they know their business. I have every- 
thing arranged. I will decoy her and my men will get her and 
gag her and run off with her. I heard she will be down here 
to wait for her lover. Ah, she will be caug'ht and carried 
away. I will not lose her this time. Ha, ha. (Runs off.) 

(Enter Clara and Lina — Clara holds a nezvspaper.) 

CLARA — Here is a case just like yours. A man was supposed 
to have died from heart disease, and there was evidence of 
some peculiar drug. Remembering how a cut on your wrist 
brought you back to life again. Dr. Caforo took a sharp knife 
and put the point through the man's arm until it reached 
the bone. He came back to life again. What do you think 
of that ? 

LINA— Wonderful ! 

CLARA — Had Harry not arrived in the nick of time, you surely 
would have been killed. 

LINA — Love does so much ; it is everything. 

CLARA— But some hold it too lightly. 

LINA — Then they miss its happiness. 

CLARA — It can hardly go by rule. 

LINA — If it could, I would like to write its ten commandments. 

CLARA — And what would they be, dear Lina? 

LINA — First, Thou shalt have no other love but me. Second, 
Trust me all in all, or not at all. Third, Thou shalt not with 
dullness, weary me to satiety. Fourth, Wound me not 
with cruel words, but in everything be kind. Fifth, Thou 
shall not bind me with galling chains of duty, but instead 
with feathery chains of love. Sixth, Guard me as thy heart's 
richest jewel, for once lost, it can never be regained. Sev- 
enth, Thou shalt not take another in my place. Eighth, Strip 
not the halo of romance from about me, for the blinder love 
is the sweeter is its blisses. Ninth, Thou shalt not look 
with covetous eyes upon another graceful person, but keep 
thine eyes for the one to whom thou art sworn. Tenth, 
never cease praising me, whether it be merited or not, but 
always keep the fires of affection's incense at my feet. How 
do you like these, Clara? 

41 



CLARA — Beautiful sentiments; they make heavenly laws for 

matrimony. If married couples lived that way, there would 

be no unhappiness, no affinities, no divorpes. 
LINA — The world would be a paradise. ' 
CLARA — A man's love would not die after marriage. If the 

wife knows how to treat him, he will love her all the time. 

(Bell rings.) The bell, I must answer. (Exit Clara.) 

LINA (looks at watch) — How happy I feel. These jewels are 
the ones which were placed with me in the coffin. All I 
have to show from that sad experience is the sore wrist 
where the robber tried to cut the bracelet off, and that cut 
brought me back to life again. So I really owe my life to the 
robber, and to my dear faithful Harry. Salvo, as they call 
him, was glad he brought me back to life. I owe him much. 
I wonder what was his fate. 

(Enter Clara.) 

CLARA — A young lady wishes to see you ; she says it is a ques- 
tion of life or death. 

LINA — Bring her here at once. 

CLARA — She will hurry. (Exit Clara.) 

LINA — I hope it isn't the gypsy girl. I cannot get her face out 
of my mind. I'll remember her as long as I'll live. 

(Enter Clara and Dora.) 

DORA (falling on her knees) — I come to your excellency to ask 
help for my father. 

LINA — Who are you, and who is your father? 

DORA — I am the daughter of Salvo, who is accused of murder- 
ing Matteo and his sweetheart, and who robbed }ou of your 
jewels. He has been found guilty, and is condemned to be 
executed to-morrow. Oh, save my poor father's life. He 
says that you may be able to do so. 

LINA — How can I help him ? My father requested the Judge not 
to press the charge of robbery, for it was the cut on my 
wrist that brought me back to life again. He cannot with- 
draw the charge of murder, because he did not make it. 

DORA — My father is innocent of the murder (she kneels). 

LINA — Arise. (Dora gets up.) 

DORA — I saw my father yesterday in prison. He said you can 
save him by going to the Queen, who will grant a sus- 
pension of sentence. 

LINA — My dear young lady, I am very sorry to hear such ter- 
rible news ; I didn't know anything about this hasty trial. 
(Thinking.) Let me see. I picked up a note by the 

42 



tomb; yes, that is the confession by the murderer. I re- 
member now I have the proof; your father's hfe will be 
saved. I will bring it to you. (Exit.) 

DORA (kneeling) — Oh, God in heaven, guard my innocent 
father. Thou knowest if he is innocent or not, and if he is 
innocent, I pray thee, save him from a horrible death. Oh, 
my heart is breaking. (She faints and falls to the floor.) 

(Enter Lina zvith letter in hand; seeing Dora on the floor, she 
staggers back with a scream.) 

(Enter Clara.) 

CLARA— What is the matter ? 

LINA — Quick! go and get my smelling salts to help restore her. 
(Clara runs off. Lina goes and bends over Dora.) The 
poor creature has fainted. (Enters Clara. She puts the 
bottle under Dora's nose and in a fezv seconds she revives. 
Lina and Clara help her up.) 

LINA — Arise, I have found the letter. Let me read it. (Opens 
the letter and reads. "I, Matteo Bianco, have just killed my 
sweetheart, Martha Silvera, because she was not true to me, 
and now in remorse for my mad act I write this, so that no 
one should be falsely accused. — Matteo Bianco." 

DORA — Oh, give that to me. It will save my father's life. 

LINA — I hope so, but this letter shall go to the King first. Clara, 
ask the General to come here. (Exit Clara.) If your 
father is freed, try to make a better man of him. 

DORA — And do you think he will be freed? 
(Enter the General.) 

LINA — Yes ; here is my father, the General. Father, do you 
remember Salvo, who cut me on the wrist and thereby saved 
my life? He is to die for a crime he is not guilty of. He is 
innocent ; this is his daughter. 

BEN — I am sorry, but I cannot change the verdict of the jury. 

LINA — Oh, yes you can. I have the proof that he is not the 
murderer. Therefore, Salvo's life must be saved ! 

BEN — You have the proof? Why did you not speak of it before? 

LINA — I never thought of it, until his daughter called. I found 
a piece of paper in front of the tomb, which turned out to 
be a confession by Matteo that he killed his sweetheart and 
then committed suicide. {To Dora) : Let me show the paper 
to Father. ( To the General) : Here it is, read it for your- 
self. (Lina hands him the note, luhich he reads.) 

BEN — This is surprising. Come here. (Enter Major Carlo.) 
Major, there is no time to lose. This man's life must be saved. 
Here is proof that Salvo is innocent. 

43 



CARLO— Then he should not die. 

LINA — We have little time to spare ; the execution will take place 
to-morrow evening at 4 P. M., and we have many miles be- 
tween us and the prisoner. 

BEN — Major, I want you to go at once and arrive in time to save 
the man's Hfe. 

(Dora kneels and thanks them all.) 

DORA — Oh, thank you, a thousand times, thanks; may God 
bless you all. 

BEN — Get up, and worry no longer, my good girl ; you shall ac- 
company us. (Dora gets up.) 

CARLO — Then he must not die. 

LINA— We will all go, father. 

BEN — Major, I want you to get the best horses ready right away 
so that we can go quickly to the royal palace, and bring the 
proofs to his Majesty. 

CARLO — I shall comply with all speed. 

BEN — Now, hold ; I must make sure that there will be no fail- 
ure to get to the Royal Palace in time, and after we obtain 
the order from his majesty, we'll go to the execution place 
in time to save the innocent man's life. 

CARLO — Everything will be arranged. I am off. (Exit.) 

BEN— Very well. 

(Enter Lola and Eva.) 

LOLA — What have you been doing here so long? Lina, you look 
happy. 

LINA — Oh, yes, mother dear, for I have been able to do a good 
turn to-day. I have held in my possession proof of Salvo's 
innocence without knowing it. Matteo died by his own hand ; 
you will know all about it soon. 

LOLA — How lucky, Lina, to save a man's life. I am glad that 
this paper was found in time. Had you not produced it 
and had it been found later you would have lived unhappily 
the rest of your life. It saves a man's life. 

LINA — Yes, it is a blessing that I had this prize in my possession. 
(All stand around Lina.) He saved my life, I hope I can 
save his. 

(Music, all exit.) 

(Enter Stefano and Fillipo — brigands.) 

STEFA. — Fillipo, we are going to make twenty thousand dol- 
lars, and we must not fail to kidnap Lina. 

FILLI. — Certainly not; we'll get her. Soon she'll be down to 
meet her lover, who will be here about nine o'clock to-night. 
It is now nearly that time. 

44 



STEFA. — Suppose we are caught, we will shoot. (Lina opens the 
door. Stefano and Fillipo run off. Enter Lina, smiling.) 

LINA — When Harry comes to-night, he will be surprised to hear 
about my saving the man's life just by a scrap of paper. 
{Lina zvalks to the front and looks to L. Enter Stefano and 
Fillipo from R., who rush in, seize her and gag and bind her 
so that she cannot move or scream. Lina tries to get away. 
Gives one loud scream. They handle her very roughly.) 

(Enter Clara, screaming.) 
CLARA — Help, help, murder ! 

(Ented Harry, running and rushing like a tiger tozvards 
them, zvith a revolver in his hand. Both try to shoot Harry, but 
he batters them zvith his pistol butt; a terrible fight takes place; 
Lina loosens herself, and then she gets the revolver away from 
Stefano. Harry gets Fillipo's gun. Harry and Lina both point 
the guns at the brigands.) 

HARRY — I was hot on your trail this time. Prison is the place 
for you dogs. 

LINA — Yes, I hope you will be sent away for life. 

(Enter tzvo policemen.) 

HARRY — Officers, arrest these cowards. (All stand un C. each 
officer holding a brigand.) 

LINA — Harry, you have saved my life again. (Lina falls in the 
arms of Harry.) 

HARRY — This is my third duel for love. 
( Music — tableau. ) 
(Curtain falls.) 




45 



ACT IV. 

Scene 6: Full stage. Scene represents General JValdman's ball 
room, decorated with plants and various kinds of flowers. 
The hall is all zvhite, decorated with gold and silver, tvith 
four pillars each on L. and 7?., also a statue on U. C. corner, 
showing a painting representing the Triumphant Angel zvith 
harp in hand. A large door on upper C. zmth fancy curtains, 
in inner part shozvs a viczv of bay and mountains ; mootdight 
shozvs on the bay, and door on L. C. and R. C. Brilliant 
lights on stage, not too much in theatre. Clara arranges the 
flowers. 

(Enter Salvo and Dora.) 

SALVO. — Good evening, young lady. 

CLARA — What do you wish, sir? Who let you and this young 
lady up here without sending notice by the bell-boy. 

DORA — Lady, we begged the servant to show us the way in. 
I understand that the General's daughter is celebrating her 
wedding this evening, and my father would like to see her 
and her American luisband for a few minutes on an im- 
portant matter. 

SALVO — (Writes his name on a piece of paper and hands it to 
Clara.) 

CLARA — V^ery well, I shall seek the opportunity to give to them 
your message. You look so pitiful that I could not refuse 
you both that favor. (Exit Clara.) 

DORA — I told you, dear father, that this was Lina's wedding 
night and I hardly think we will be received by them. 

SALVO. — My child, you have saved my life through them, and 
I couldn't stand it any longer, so my heart prompted me to 
come here to-night and thank them before the bride and 
bridegroom leave for America. 

(Enter Lina, Harry and the General.) 

LINA — Ah, here is Salvo (Shake hands). I am glad that you are 
free. I feel completely happy that I have saved you, who 
saved my life. 

HARRY — For that reason, I, too, should feel grateful and thank- 
ful to the General, who arrived at the execution place just in 
time to save you from the convict's death. 

SALVO. — I thank you all from the bottom of my heart ; you 
have snatched me from the jaws of death. 

BEN — I am glad we came in time to save you. Salvo. 

HARRY — I have concluded to furnish money for Salvo and his 
faithful daughter to take a pleasure trip. I shall give him an 

46 



opjxjrtunity to lead an honest life. Here is a check for 
50,000 lires for you, Salvo, and I hope you will be happy 
with your daughter. 

SALVO. — I am unworthy, but I will take it and lead a better life. 

BEN — Now let us indulge in good cheer for the rest of the 
wedding evening; you and your daughter are invited to my 
daughter's wedding to-night. 

SALVO. — I thank your excellency, God bless you and best 
wishes to the bride and bridegroom. (Dora and Salvo kneel 
to Lina.) I knew that you would leave Italy to-night and I 
wouldn't have another chance to see you ; I came here to 
thank you and may God bless and guard you on every step 
you may take. 

LINA — Rise! Don't kneel before me. 

{Enter Clara.) 

CLARA — Monsignor Ferranti wishes to see your excellency. 
BEN — We will meet him. He is to officiate at the wedding. {All 
exit. ) 

{Enter Rico.) 

CLARA — I was looking for you, Rico. 

RICO — Here I am. How would you feel if you were in Lina's 

place and I were Harry to-night? 
CLARA — Not only to-night, but every night. People will soon 

come to dance at the wedding. Lina soon will be Mrs. Harry 

Lane. 
RICO — Her husband is a great hero. He saved her life three 

times. You can save my life once. I am dying for a kiss. 

{Rico tries to kiss her.) 
CLARA — What a sweet death it would be for you. 
RICO — Yes, to die kissing you. {Rico puts arms around her 

waist; she turns and breaks away.) 
CLARA — Take your arm from around me, do ! 
RICO — When I get a kiss from you. 
CLARA — Don't squeeze me so : take away your arm. 
RICO — A loving kiss will do no harm. 
CLARA — To what I told you often, hark, 

Wliere kissing is done all should be dark. 
RICO — Oh, yes, where we can't see the eyes. 

Wherein the charm of kissing lies. {They kiss.) 
RICO — Ah, dear Clara. I wish this was our wedding day. 
CLARA — You must do more than wish. 
RICO — While the banquet is on to-night, let us slip away. 

47 



CLARA — But we must dance upon our wedding^ night. 
RICO — Say you'll wed me to-night, and we'll do our dancing 
now. 

(Music.) 

CLARA — Yes. (They kiss. Here a pretty dance should be 
arranged. A polka might suit. As it ends, a noise is heard 
within.) Look out, someone is coming. (Bell rings.) 

RICO — The door bell is ringing ; I must go. Goodbye, you sweet- 
heart ; remember to-night. (Exit Rico.) 

CLARA — I must steal off to get married while Lina has a grand 
ball. Poor me. There will be a mingling of elaborate 
gowns and glittering uniforms here to-night and Lina will 
be the queen. 

(Enter Leo as a photographer, with black moustache and beard, 
in English style, coming to a point at the chin.) 

LEO — Is General Waldman at home? 
CLARA — He is with the wedding party. 
LEO — Please announce me to the General ; here is my card. 
(Hands card, e.rit Clara.) 

LEO — I have used all kinds of stratagems to win Lina, and all 
my plans have failed. Harry has her, but wait. This is 
my last chance and I have to try my best. I have arranged 
with four kidnappers and they will carry her from here ; 
my yacht is in the bay. No one knows that I am Count Leo 
Bruno. I have succeeded with the General's servant, Rico ; 
I paid two thousand dollars to him just to let my kidnappers 
enter the palace without anyone knowing. I gave five thou- 
sand dollars to the photographer to let me come to take the 
flashlight picture instead of himself. When I take the picture 
of the wedding party I will put enough powder in the pan 
to fill the room with so much smoke that no one will be able 
to see, and then the kidnappers will spirit Lina away. 

(Enter Clara.) 

CLARA — Please go into the parlor. The General is there. 
LEO — I thank you very much. (Exit the Count.) 

(Bell rings. Exit Clara.) 
(Music — Bridal March.) 

(All the wedding guests march to R. D., go back through the L. D. 

and re-enter from U. C. D., and then dance; after this all 

march away to L. D., and re-enter U. C. D., all with a 

glass of wine in hand, and stand in line in center 

of the stage.) 

48^ 



(Enter Harry and Lina, and they stand in center, leaving a space 

on C. so that the audience can see the General, zvho enters 

from U. C. D.; all raise glasses for wedding toast.) 

TOAST. 
HARRY— 

God bless my Bride's mother, who gave her birth, 
God bless her every step on this earth. 
All I am seeking now, Oh, Lina, thou art 
Mine forever, the gem of my heart. 

{All drink, General walks to the center.) 

BEN — I have come to join you in the pleasure. 

{Enter Clown with wine, zvhich, he hands the General in a comi- 
cal zvay.) 

HARRY— Oh, fill the crystal glasses up. 
BEN — And to the bride we all will sup. 

(Enter dancer, zvho appears to be about tzvelve years of age, in a 
fairy costume; she first turns to the audience and bows; 
the lights are turned down on the stake and very little light 
from the balcony; first she dances a zvalta. second a tri- 
umphal march, third a butterfly dance and the fourth a 
fairy dance. While she dances a clozvn makes fun of her 
and zvhen she stops to rest the clozvn tries to dance like her, 
then she dances again, and calls the zvedding party to join 
her. Bright lights on the stage; a short dance.) 

BEN — Now, my friends, we will have the picture taken of the 
wedding party. Get ready. 

(Enter Leo as the photographer. Smiling, his machine on his 
shoulder, the photographer quickly arranges all in position 
to take the picture, Lina and Harry in the center; turn 
the lights on the stage.) 

LEO — Are you ready? 

CHORUS— Yes. 

(The photographer lights the pozvdcr until the room gets full of 
smoke; lights very dim; confusion. Enter four masked 
kidnappers zvho sieze Lina, drag her near L; when she is 
near the door she screams. The zvedding guests run to- 
zvard her and assail the kidnappers. Harry rescues her. 
Leo grabs him and tries to hold his hands so that the kid- 
nappers can regain Lina. Harry breaks azvay; a tight en- 
sues; revolvers explode and szvords clash; all the kidnap- 
pers arc made prisoners by the Major and Captain Or- 
lando. Harry jumps at Leo in a zcild rage and throzvs him 
on the floor. Lights brighten.) 

49 



HARRY — You dog; now I have you at last. {Harry chokes him; 
his false beard falls azvay as he is throzvn down.) Ah, this 
is Count Leo Bruno, the villain who plotted all the traps for 
my wife ; you will never bother her again. Come, you dog, 
get up and fight. I will give you a chance for your life. 
(Leo gets up; a sword is handed to him.) 

LEO — I am not a coward. 

HARRY— Then fight a duel for love. 

LEO — To die for her is joy, not pain. ( They fight with szvords. 
Harry defeats him and knocks the sword out of his hand. 
The General holds Leo.) 

BEN — I shall bring charges against Leo for all these plots 
against my daughter, and he shall go to prison for life. 

LEO — I lost the duel for love, and I'll not be taken to face the 
justice and then be sent off to prison. 

HARRY — The villain shall not escape. 

BEN — Leave it to me ; I have all the proofs to convict him ; you 
sail for America, while he sails off to prison. He will never 
bother you in Italy or in America again. 

HARRY — As you wish ; we will leave at once ; the American 
battleship is ready for us. 

LINA — I have everything ready. My trunk and yours are al- 
ready on the ship. 

HARRY — Then we will prepare to go on board. 

BEN — To the Banquet Hall, and let the richest wine in Italy help 
us to forget this trouble, which might have been avoided. 

LEO — At last, let me confess. 'Twas I who had Lina kidnapped 
and 'twas I who recently filled her life with misery and fear. 
I did it all because of my mad love for her. 'Tis all over 
now. I have lost ! lost ! 

(Leo shoots himself, and as he falls, Ben catches him in his 
arms; all stand around in great surprise.) 

BEN — Captain Orlando, hurry for a doctor; he may be dead 
before you return. (Exit Orlando.) 

HARRY— Die, you dog! 

LINA — Oh, Harry, he is dying. Let us forgive him now. 

HARRY — So let it be, for your sake, I forgive him all. (Harry 
looks at Leo.) Ah, there, he is dead now. 

LINA — My tortures are at an end. 

BEN — His heart was good, but his mind was wrong. 



HARRY— I regret that a death is the stepping stone to our hap- 
piness. 
BEN— Tis better, maybe, as it is. 
LiNA — Let all merriment cease now. 
HARRY— Yes; let us say a prayer for the rest of his soul. (All 

kneel.) 

(CHrtai)i foils.) 

THE END. 




51 



One copy del. to Cat. Div. 



OCT 6 nm 



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